The Phenomenology of Spirit is both one of Hegel's most widely read books and one of his most obscure. The book is the most detailed commentary on Hegel's work available. It develops an independent philosophical account of the general theory of knowledge, culture, and history presented in the Phenomenology. In a clear and straightforward style, Terry Pinkard reconstructs Hegel's theoretical philosophy and shows its connection to ethical and political theory. He sets the work in a historical context and shows the (...) contemporary relevance of Hegel's thought for European and Anglo-American philosophers. The principal audience for the book is teachers and students of philosophy, but the great interest in Hegel's work and the clarity of Pinkard's exposition ensure that historians of ideas, political scientists, and literary theorists will also read it. (shrink)
Edited by Hans-Christoph Schmidt am Busch & Christopher Zurn. This volume collects original, cutting-edge essays on the philosophy of recognition by international scholars eminent in the field. By considering the topic of recognition as addressed by both classical and contemporary authors, the volume explores the connections between historical and contemporary recognition research and makes substantive contributions to the further development of contemporary theories of recognition.
In the second half of the eighteenth century, German philosophy came for a while to dominate European philosophy. It changed the way in which not only Europeans, but people all over the world, conceived of themselves and thought about nature, religion, human history, politics, and the structure of the human mind. In this rich and wide-ranging book, Terry Pinkard interweaves the story of 'Germany' - changing during this period from a loose collection of principalities into a newly-emerged nation with a (...) distinctive culture - with an examination of the currents and complexities of its developing philosophical thought. He examines the dominant influence of Kant, with his revolutionary emphasis on 'self-determination', and traces this influence through the development of romanticism and idealism to the critiques of post-Kantian thinkers such as Schopenhauer and Kierkegaard. His book will interest a range of readers in the history of philosophy, cultural history and the history of ideas. (shrink)
One of the founders of modern philosophical thought Georg Wilhelm Friedrich Hegel has gained the reputation of being one of the most abstruse and impenetrable of thinkers. This major biography of Hegel offers not only a complete account of the life, but also a perspicuous overview of the key philosophical concepts in Hegel's work in a style that will be accessible to professionals and non-professionals alike. Terry Pinkard situates Hegel firmly in the historical context of his times. The story of (...) that life is of an ambitious, powerful thinker living in a period of great tumult dominated by the figure of Napoleon. The Hegel who emerges from this account is a complex, fascinating figure of European modernity, who offers us a still compelling examination of that new world born out of the political, industrial, social, and scientific revolutions of his period. (shrink)
Kant’s conception of nature’s having a “purposiveness without a purpose” was quickly picked by the Romantics and made into a theory of art as revealing the otherwise hidden unity of nature and freedom. Other responses (such as Hegel’s) turned instead to Kant’s concept of judgment and used this to develop a theory that, instead of the Romantics’ conception of the non-discursive manifestation of the absolute, argued for the discursively articulable realization of conceptual truths. Although Hegel did not argue for the (...) “end of art” (although it is widely held that he did just that), he did, curiously enough, claim that it is art and not philosophy which tells us about the “life” of agents. To see how he reconciles that claim with his otherwise entirely discursively oriented philosophy, it is necessary to look at his thesis of the end of art’s “absolute” importance. Hegel’s worries have to do with the impossibility of fully exhibiting the “inner” in the “outer” in modern art and with the newly emerging problem of “fraudulence” in the poet’s voice. This is illustrated by examples drawn from the history of music and the problems besetting the lyric poet in modern life. Because of these problems, we are, Hegel says, now “amphibious animals” having to live in different and seemingly incompatible worlds. Hegel’s student, Heinrich Heine, found that the only satisfactory way of responding to this was for the modern artist to adopt a distinctive type of irony in response to the Hegel’s worries about modern art. This form of irony, it is argued, is itself Hegelian in spirit. (shrink)
Terry Pinkard draws on Hegel's central works as well as his lectures on aesthetics, the history of philosophy, and the philosophy of history in this deeply informed and original exploration of Hegel's naturalism.
This review of peter hodgson's new english translation of hegel's "lectures on the philosophy of religion", Part iii, And of two other books on hegel, Includes a report on plans for retranslating the entire "lectures". A new edition is made feasible by the hegel archiv's ability to construct a superior critical text of each of the four lecture series (1821, 1824, 1827, 1831) from lasson plus additional recently-Discovered auditors' transcripts. Stephen dunning's book on hegel and hamann, And james yerkes' on (...) hegel's christology, Disagree emphatically on the suitability of hegel's conceptual framework for doing justice to the nature of christianity. (shrink)
This chapter examines the philosophies of Hegel and Marx. The analysis of Hegel draws upon his book, Philosophy of Right. It considers three controversial Hegelian ideas: dialectic, alienation, and actuality. The discussion of Marx's views includes his thoughts about Hegel's philosophy, capitalism, and bourgeois moral theory.
In Kant's "fact of reason," there is an apparent paradox of our being subject to laws of which we must regard ourselves as the author, while at the same time being normatively bound by the same laws that we cannot see ourselves as authoring. Working out the implications of this apparent paradox generated much of the response to Kant in post-Kantian idealism. Wilfrid Sellars notes the same paradox when he speaks of the "paradox of man's encounter with himself" in "Philosophy (...) and the Scientific Image of Man." Like some of the idealists, Sellars thus opted for "two track" system of philosophy that combines the two tracks in a metaphor of "stereoscopic vision." This paper argues that understanding Sellars 's own thought in terms of the issues that formed the dynamic of post-Kantian philosophy in Germany puts us in a better position to understand why Sellars 's own conception of experience and of the unreality of the manifest image is not completely consistent with the argumentative direction of his thought. Understanding Sellars in this way helps us understand the limits of post-Kantian idealism just as understanding the dynamic of post-Kantian idealism gives us a more nuanced version of Sellars 's conception of experience. (shrink)